Craft Tastic String Art Instructions
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July/August 2015 aramcoworld.com aramcoworld.com July/August 2015 Vol. 66, No. 4 @aramcoworld July/August 2015 aramcoworld.com Commuter boats pack a river- bank upstream from Suriname’s capital, Paramaribo, serving towns and villages where residents might be recent 2 immigrants from almost anywhere, or descendants of slaves, colonists or indigenous Six Degrees tribes. Art by Norman MacDonald. of Suriname Illustrated and written Publisher Administration by Norman MacDonald Saudi Arabian Sarah Miller Oil Company Publisher InternPrint Design Independent since 1975, Publisher ActingAramco PresidentServices Company Suzanneand Production Bader Aramco Services Company Suriname began as an English and CEO Graphic Engine Design 9009President West Loop South Print Design Amin H. Nasser and then a Dutch colony. Houston,Basil A. Abul-Hamayel Texas 77096 andPrinted Production in the USA Now among the western hemisphere’s Vice President GraphicRR Donnelley/Wetmore Engine Design DirectorUSA Corporate Affairs most culturally diverse countries, it also PresidentPublic Affairs PrintedDigital Designin the USA Nasser A. Al-Nafisee lays claim to the hemisphere’s highest percentage NabeelJamal K. M. Khudair Amudi RRand Donnelley/Wetmore Production General Manager eSiteful Corporation of population identifying as Muslims: 14 percent. DirectorEditor Digital Design Public Affairs PublicRichard Affairs Doughty andOnline Production Translations Our Canada-born, Amsterdam-based, award-winning Essam Z. Tawfiq eSitefulTransperfect Corporation AssistantAli M. Al Mutairi Editors illustrator-author paid a visit to sketch and listen. Manager EditorArthur P. Clark OnlineContacts Translations Public Relations RichardAlva Robinson Doughty TransperfectSubscriptions: Haifa I. Addad [email protected] AssistantDigital Media Editor Editor Contacts Editor ArthurJohnny P. Hanson Clark Subscriptions:Editorial: Richard Doughty [email protected]@aramcoservices.com Circulation Assistant Editors EdnaMelissa Catchings Altman Editorial:Mail: Arthur P. -
Foodservice Disposables Guide
MANUFACTURERS REPRESENTATIVES “Connecting Partnerships” FOODSERVICE DISPOSABLES ENVIRONMENTAL MATERIALS GUIDE 5th Edition 2021 NEXUS CORPORATE HEADQUARTERS 7042 Commerce Circle Suite B, Pleasanton CA 94588 | T 800.482.6088 | F 510.567.1005 www.nexus-now.com rev. 3/21 MISSION STATEMENT OF THIS PUBLICATION “Our mission, as manufacturer’s representatives, is to strive to be good stewards to the environment in our marketplaces by educating, training and informing our customers on all of the different packaging materials and substrates that are used to make a wide array of disposable foodservice products. In this publication we also seek to advise our customers on how each packaging substrate should be used in operational applications like microwaves, freezers and ovens as well as which materials can be recycled and or composted in each respective region in the Western United States.” Chris Matson President, Nexus The information provided in this guide may vary in accuracy due to the ever changing city, state and federal rules, regulations, ordinances and laws that govern recycling, landfills and commercial compost facilities. 3 FOODSERVICE DISPOSABLES ENVIRONMENTAL MATERIALS GUIDE “Connecting Partnerships” TABLE OF CONTENTS 3 MISSION STATEMENT 4 TABLE OF CONTENTS 6 INTRODUCTION 8 ENVIRONMENTAL WASTE 13 LANDFILLS 14 RECYCLABLES 17 INTERNATIONAL RECYCLING 18 PLASTICS 36 GOVERNMENT REGULATIONS 41 FOODSERVICE PACKAGING 43 CLEAN PACKAGING 46 BACTERIA 47 HACCP 49 FOODSERVICE GLOVES 55 MYTHS & FACTS 59 PAPER 65 GREEN 4 5 INTRODUCTION The world of foodservice packaging disposables can be very confusing in today’s ever changing marketplace. There are so many different packaging materials that are used in a variety of food applications made by hundreds of manufacturers. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
The Empowering Squirrel Girl Jayme Horne Submitted for History of Art 390 Feminism and History of Art Professor Ellen Shortell M
The Empowering Squirrel Girl Jayme Horne Submitted for History of Art 390 Feminism and History of Art Professor Ellen Shortell Massachusetts College of Art and Design All the strength of a squirrel multiplied to the size of a girl? That must be the Unbeatable Squirrel Girl (fig. 1)! This paper will explore Marvel’s Squirrel Girl character, from her introduction as a joke character to her 2015 The Unbeatable Squirrel Girl comic series which is being harold as being extremely empowering. This paper aims to understand why a hero like Squirrel Girl would be harold and celebrated by fans, while other female heroes with feminist qualities like Captain Marvel or the New Almighty Thor might be receiving not as much praise. Squirrel Girl was created by Will Murray and artist Steve Ditko. Despite both of them having both worked for Marvel and DC, and having written stories about fan favorites like Spider-Man, Wonder Woman, Iron Man, and others, they are most known for creating Squirrel Girl, also known as Doreen Green. Her powers include superhuman strength, a furry, prehensile tail (roughly 3-4 feet long), squirrel-like buck teeth, squirrel-like retractable knuckle claws, as well as being able to communicate with squirrels and summon a squirrel army. She was first introduced in 1991, where she ambushed Iron Man in attempt to impress him and convince him to make her an Avenger. That’s when they were attacked one of Marvel’s most infamous and deadly villains, Doctor Doom. After Doctor Doom has defeated Iron Man, Squirrel Girl jumps in with her squirrel army and saves Iron Man1 (fig. -
Realtors WESTFIELD LIBERTY CORNER MOUNTAINSIDE 302 E
o > I- - a: i/> - THEWESTFIELD LEADER •-t O « P» LU The Leading and Most Widely Circulated Weekly Newspaper In Union County o <~l •-. UJ U- _J K pq irt </> I> rvi UJ d«oond C'lul Foltafrt« Paid Publl.he* O- -r 3 ErGHTY-SEVENTH YEAR — NO. 16 it WutH>14, NTJ. WESTFIELD, NEW JERSEY, WEDNESDAY, NOVEMBER 24, 1976 Every Thursday •nts Thanksgiving Day Classic Tomorrow Veto for "Scooper" Bill Veto of a new town or- The "pooper scooper" to veto the ordinance was volving practical matters, Preview to State Title Game Dec. 4 dinance commonly known ordinance was adopted by a based on the following dignity and sanitation; as the "pooper scooper" law 5-4 vote at the Nov. 9 considerations: "In view of the vast By Larry Cohen was expected to be an- meeting of the council and "The ordinance is not numbers of birds, cats, Westfield and Plainfield nounced by Mayor squirrels, possums, square off tomorrow requires residents to pickup possible to enforce; Alexander S. Williams at excrement deposited by "Provisions of I he or- racoons, insects, turtles and morning at 11 a.m. in what last night's meeting of the their pets - dogs, cats or olher animals, both has always been the dinance requiring persons Town Council. other domestic animals. who curl) any <l<ig, cat or domestic and wild, and the traditional finale for both The action is the first time Mayor Williams told the great amount of feces teams. This year, however, olher domestic iiniinal lo this power has been used by Leader earlier this week 'imincdiaU'Iy remove iill deposited by such creatures the Thanksgiving Day a Westfield mayor: a that, in returning the or- annually upon the town, the classic will serve as a feces deposited by such ordinance would appear to majority vote by Town dinance to the council with unimal' could cause cun- preview of the Group 4 state Council is needed to his veto, he will ask that the cure only a small portion of sectional championship fronlalion situations nol in the total environmental override the veto. -
Wordperfect Office Document
Supervisor Bosworth offered the following resolution and moved its adoption, which resolution was declared adopted after a poll of the members of the Board: RESOLUTION NO. 234 - 2014 A RESOLUTION AUTHORIZING THE AWARD OF A BID FOR JANITORIAL PRODUCTS (TNH011-2014). WHEREAS, by Resolution No. 19-2014 adopted January 7, 2014, the Commissioner of Administrative Services (the “Commissioner”) was authorized to solicit bids for the purchase of janitorial products (the “Products”); and WHEREAS, bids for the Products were received as set forth in Exhibit A attached hereto (the “Bids”); and WHEREAS, following a review of the Bids, the Commissioner has recommended an award as set forth in Exhibit B attached hereto (the “Awards”): WHEREAS, the this Board wishes to authorize the Awards as recommended by the Commissioner. NOW, THEREFORE, BE IT RESOLVED that the Awards as recommended by the Commissioner are hereby authorized; and be it further RESOLVED that the Supervisor be and hereby is authorized and directed to execute, on behalf of the Town, any purchase agreements and related documents, a copy of which shall be on file in the Department of Administrative Service, and to take such other related action as may be necessary to effectuate the foregoing; and be it further RESOLVED that the Office of the Town Attorney be and hereby is authorized and directed to supervise the execution of the contract documents to effectuate the Award; and be it further RESOLVED that the Comptroller be, and hereby is, authorized and directed to pay the costs thereof upon receipt of a fully executed agreement and a duly certified and executed claim therefor. -
Mapping an Arm's Length
MAPPING AN ARM’S LENGTH: Body, Space and the Performativity of Drawing Roohi Shafiq Ahmed A thesis in partial fulfilment of the requirements for the degree of Master of Fine Arts College of Fine Arts, University of New South Wales. 2013 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. 28th March 2013 Date ……………………………………………................. ! DECLARATIONS Copyright Statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
{DOWNLOAD} Spider-Man: Birth of Venom Kindle
SPIDER-MAN: BIRTH OF VENOM PDF, EPUB, EBOOK Jim Shooter,Louise Simonson,Tom DeFalco,David Michelinie,Mike Zeck,Ron Frenz,Rick Leonardi,John Byrne,Greg Larocque | 352 pages | 04 Apr 2007 | Marvel Comics | 9780785124986 | English | New York, United States Spider-Man: Birth of Venom PDF Book Puma lunges at Spider-Man and they both fall over the side. Brock agreed to bond with it, not only gaining the symbiotes abilities, but also learning everything it knew about Peter Parker. However, before he listens to the Hobgoblin's proposal, he is determined to prove if this is really the Hobgoblin, as he had heard that he had been killed. Jun 05, David Rhodes rated it really liked it. That's not a knock on the graphic novel, but more so on the quality of comic writing that created Venom in the first place. This leads to the Chapel scene And Eddie Brock. Feb 18, Paige rated it it was ok. Jul 22, Logan rated it it was amazing. Fireheart accepts the Rose's job to eliminate Spider-Man, looking forward to testing his powers against one of New York City's famous superheroes. We do eventually get Venom, but his reveal comes as more of a twist to readers than it does an expected development. Jim Shooter Text. It's disappointing really, because a major part of the Spider-Man universe is its character development, and the symbiote is the only one we really have background and development with. He reminds himself that he should have Reed Richards examine the costume as soon as possible. -
Cleveland Town Topics Volume 5, December 1889
8 'Wleeltl~ 'lRc"lew of Soclet\?, 8rt anb llterature. VOL. V., No. I. CLEVELAND, 0., DECEMBER 7, 1889. PRI\E FIVE CE;\TS. A DISTINGUISHED WURKER. MISS DEBUTANTE (enthusiasticaIM: How GRAND IT JllUST DE TO BE A MAN! MR. SOFTLY, BY THE WAY, WHAT IS YOUR VOCATION? MR. SOFTLY: OH! I AM A I'ROMINE!'iT MEMBER OF A:-i INSTITUTION ON FIFTH AVENUE. MISS DEBUTANTE: INDEED, AND WHAT DO YOU DO? MR. SOFTLY: I AW-SIT IN THE CLUB WINDOW FROM TWO TO FOUR. TOWN TOPICS. Cs(ie(jUNTNEI{~ ~ONS FU S ~eat s~I\jacl\ets.wrapsaroddoaks, shoulder capes. pelerines,moffs.etc. in choice desiglls,at moderate pricej. ~b~her 181e FIFTH AVENU~ NEW YORK SECURITY AND TRUST CO" 4G 'VALL STREET. CAI>ITAIJ, $1,000,000, SUUJ)JJUS, $;;00,000. CIlA RLES S. FA I Relll LD, President. W;\1. L. STROI G, 2d Vice-President. WII. H. APPLETV ',1st Vice-President. JOII. L. L!\MSO~, Secret:lr)'. This COOlp:tny is :tuthorizcd to art as Execulor, Trlls!l'(', Adlllinistr:ttor, Guardi:ln, Agent and Receiver. Is a legal uepository for Conrt :lnd Trllst Fllnus. Takes the ('lit ire charge of real and personal estates, collecting the rents and prolits, and :lttending- lo :III such det:lils as :In individual in like capacity could do. Receives deposits s~.iect to sight drafts, allowing intl'rest on daily balances, :lnd issues certificates of deposit IJl~aring interest. --'-------------- Fine Complexion, New ParkSorRoads TIFFANY &CO., Smooth, Soft Skin. SA~LE. UNION SQUARE, NEW YORK, Mention this :lfa,:,'a::;il/I! amI semI -1 stamps FOR • for sample of P.\CKER's TAR S(lAI'. -
The 6 Marrakech Biennale
THIRD TEXT Critical Perspectives on Contemporary Art and Culture May 2016 The 6th Marrakech Biennale: ‘Not New Now’ Nicola Gray I will make a bold claim: the 2016 Marrakech Biennale has rekindled much of the faith in and passion for art as it is presented in international exhibitions that I have lost in recent years. There may have been other biennales and large exhibitions which might have evoked a similar response (it is not possible to see all of them), but some jaded emotions settled in for me some time ago as I began to witness many of the machinations of the art world and its attendant markets. Perhaps most painful for me has been the all-too-frequent mangling and misuse of words and language, and through that of clarity of thought and meaning. Clarity of thought is essential for an ethical consideration of anything, and curator Reem Fadda has thought clearly and expansively about this 6th Marrakech Biennale. It is brave and ambitious and does not waste exhibition or page space with any superficial trends or theories. Conceived of as a ‘living essay’, to quote Fadda, with a beginning and a series of movements through it, the Biennale weaves itself into parts of the fascinating fabric of this Moroccan city almost as if it had always been there. There is none of the superficiality of inviting ‘international’ artists to ‘engage with Morocco’. Neither is there the usual roster of names. A few are familiar; I suspect many will not be. Taken as a whole, the Biennale questions and provokes. -
Avengers Dissemble! Transmedia Superhero Franchises and Cultic Management
Taylor 1 Avengers dissemble! Transmedia superhero franchises and cultic management Aaron Taylor, University of Lethbridge Abstract Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film- going community is acknowledged, courted and potentially colonized. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co- option of potentially unruly niche audiences. Keywords Marvel Comics superheroes post-cinematic adaptations Taylor 2 fandom transmedia cult cinema It is possible to identify a number of recent corporate trends that represent a paradigmatic shift in Hollywood’s attitudes towards and manufacturing of big budget adaptations. These contemporary blockbusters exemplify the new industrial logic of transmedia franchises – serially produced films with a shared diegetic universe that can extend within and beyond the cinematic medium into correlated media texts. Consequently, the narrative comprehension of single entries within such franchises requires an increasing degree of media literacy or at least a residual awareness of the intended interrelations between correlated media products.